Notation
Note: The tunes below are recorded in what
is called “abc notation.” They
can easily be converted to standard musical notation via highlighting with
your cursor starting at “X:1” through to the end of the abc’s, then “cutting-and-pasting”
the highlighted notation into one of the many abc conversion programs
available, or at concertina.net’s incredibly handy “ABC Convert-A-Matic” at

**Please note that the abc’s in the Fiddler’s
Companion work fine in most abc conversion programs. For example, I use
abc2win and abcNavigator 2 with no problems whatsoever with direct
cut-and-pasting. However, due to an anomaly of the html, pasting the abc’s
into the concertina.net converter results in double-spacing. For
concertina.net’s conversion program to work you must remove the spaces
between all the lines of abc notation after pasting, so that they are
single-spaced, with no intervening blank lines. This being done, the F/C
abc’s will convert to standard notation nicely. Or, get a copy of
abcNavigator 2 – its well worth it.[AK]

LONACH HIGHLANDER'S, THE. Scottish, March (4/4 time). F Major. Standard
tuning. AAB. Composed by Alexander Walker. The Lonach Gathering features the
custom of the Lonach men, armed with pikes, visiting the grand houses of the
area where they receive generous drams, reports Moyra Cowie in her book The Life and Times of William Marshall (1999).
At the rear of the procession is a man with a horse and cart for conveyance of
any clan member who might become to incapacitated to walk, although it seems a
point of honor for the cart to remain empty no matter how much is imbibed. Walker
(A Collection of Strathspeys, Reels, Marches,
&c.), 1866; No. 154, pg. 52.

L’ONCLE PETIT (Uncle Tiny).French-Canadian, Reel.In the repertoire Gaspésie musician
Yvon Mimeault (b. 1928, Mont-Louis). The tune is named after a paternal uncle,
an excellent step-dancer who loved the tune, and, in fact, a man of rather
large girth and stature. Yvon Mimeault – “Y’etait
temps!/It’s About Time.”

LONDON
CLOG.
Canadian, Clog Dance Tune. D Major. Standard tuning. AABB. Composed by Ontario
fiddler Ward Allen, who won contest after contest in the 1950’s and who carved
out a successful career as a radio fiddler.

X:1

T:London
Clog

C:Ward Allen

R:Hornpipe

M:4/4

L:1/8

Z:Transcribed
by Bruce Osborne

K:D

A2 FA B2
AG|FAde f2 ef|g2 gb ag f2|efga fedB|

A2 FA B2
AG|FAde f2 ef|g2 gb agfe|d2 ff d4:|

|:g2 g2
cegb|a2 a2 adef|g2 gb ag f2|efga fedB|

A2 FA B2
AG|FAde f2 ef|g2 gb agfe|d2 ff d2 cB|

A2 FA B2
AG|FAde f2 ef|g2 gb ag f2|efga fedB|

A2 FA B2 AG|FAde f2 ef|g2 gb
agfe|d2 ff d4:|

LONDON GENTLEWOMAN. AKA and see "The
Sun Has Loos'd His Weary Teams," "The Hemp Dressers," "London Maid," "Winchester Christening."
English, Country Dance Tune (6/8 time). G Major (Raven, Vickers): C Major
(Chappell). Standard tuning. AB (Chappell): AABB (Raven, Vickers). The air was
published by Playford in English Dancing
Master (1650), and appears by alternate names in severalpublications and ballad operas of the latter
17th century and early 18th century. Chappell gives the
beginning of the ballad, from a 1685 collection:

LONDONHIGHLAND SOCIETY,
THE. Scottish,
Strathspey. G Major. Standard tuning. AB. Composed by Lord MacDonald (for more
on whom see “Lord
Macdonald(‘s Reel) [4]”). The London Highland Society was organized in 1778
to promoted Gaelic culture and advance to advance political considerations.
They held annual meetings in which Gaelic poetry and bagpipe music was
featured. The Act of Proscription (imposed following Culloden), which had been
campained for vigorously by the society was repealed in 1782 and allowed
civilian men to wear kilts and the tartan again. The Disannexing Act of 1784
returned some of the old Jacobite familes their traditional estates. Carlin (The Gow Collection), 1986; No. 115. Gow
(Third Collection of Niel Gow’s Reels),
1792; pg. 9 (3rd ed.).

LONDON
HORNPIPE [4]. English, ‘Old’ Hornpipe (3/2 time). D Major.
Standard tuning. The tune is printed in several collections from around the
third decade of the 18th century, such as Wright’s Collection of 200 Country Dances, vol.
I, and one of Walsh’s Compleat Country
Dancing Master. Offord (John of the
Greeny Cheshire Way),
1985.

(OH) LONDON
IS A FINETOWN. AKA and see "Watton Town's End," "Bonny Peggy Ramsey," "Our Polly is a sad slut."
English, Air and Country Dance Tune (4/4 or 2/2 time). E Major (Chappell): F
Major (Sharp). Standard tuning. One part. This air appears in Henry Playford's Dancing Master (1665 and later
editions), D’Urfey’s Pills to Purge
Melancholy (1707), and Gay's Beggar's
Opera (1728), though it is somewhat older as it is referenced as the tune
for another song written on the occasion of James I.'s visit to Cambridge in
1614. Kidson (1922) confirms it was "an early and very popular air, set to
a merry song." Other titles of songs to the air are "The
Gowlin," a "Scotch" song from D'Urfey's play Trick for Treat, in Pills to Purge Melacholy (Vol. V, 1719), "Bonny Peggy
Ramsey" in The Dancing Master
(1707 & 1719), "The Cuckowes Comendation" (Pepys Collection), and
"Our Polly is a sad slut" in Gay's Beggar's Opera (1728). Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 6‑7.
Sharp (Country Dance Tunes), 1994;
pg. 26.

LONDON LADIES. English, Air. The air appears in John Gay's Beggar's Opera
(1729) under the title "If you at an office solicit your due." The
tune is also in Playford's Dancing Master
and different editions of Pills to Purge
Melancholy. The first lines of the song go:

***

Ladies of London both wealthy and fair,

Whom every town fop is pursuing.

***

Raven (English Country Dance Tunes), 1984; pg. 60.

LONDON LANCIERS. English, Lanciers (an elaborate quadrille in 6/8 and 2/4 time
alternately). D Major & G Major, various alternating parts. Standard
tuning. Part I: AB (6/8 time), Part II: AB (2/4 time), Part III: AB (6/8 time),
PartIV: AB (6/8 time), Part V: AABCD (2/4 time). Part III is Gay's Beggar's
Opera tune "Would You Have a
Young Virgin." "The Lanciers, a regiment of light cavalry armed
with lances, gives its name to this elaborate quadrille. Madam Sacre, in her
classes in Hanover Square, London, established the dance as fashionable about
1850" (Linscott, 1939). Source for notated version: Benjamin Lovett,
"with the consent of Henry Ford, who is much interested in the revival of
the country dance." Source for notated version: Benjamin Lovett. Linscot (Folk Songs of Old New England), 1939;
pgs. 91‑94.

LONDON LASSES [2]. Irish, Reel. B Minor ('A' part)
& D Major ('B' part). Standard tuning. ABB. The melody appears in the
Sutherland manuscript collection of County Leitrim. This is not the tune
usually known as “London Lasses” today (see version #1), says New
York writer, researcher and musician Don Meade, but
rather a variant of O’Neill’s “Curragh
Races [1].” Confusingly, he continues, “Curragh Races” is printed by
Breathnach as “Maid in the
Cherry Tree [1],” a name that is also applied sometimes to the other London Lasses ([1]). Cole (1000 Fiddle Tunes), 1940; pg. 28. Ryan’s Mammoth Collection, 1883; pg. 54.
Drumlin Records, The McNamara Family – “Leitrim’s
Hidden Treasures” (1999).

LONDON MARCH. English, March (4/4 time). England; Lincolnshire, Yorkshire. G Major
(Merryweather & Seattle): D Major (Sumner). Standard tuning. AAB
(Merryweather & Seattle): AABB (Sumner). The first part of the tune, with a
different strain, is "The Scotch
Hornpipe [1]" and "March of the Third
Regiment of Guards." Source for notated version: an MS collection by
fiddler Lawrence Leadley, 1827-1897 (Helperby, Yorkshire) [Merryweather &
Seattle]; the 1823-26 music mss of papermaker and musician Joshua Gibbons
(1778-1871, of Tealby, near Market Rasen, Lincolnshire Wolds) [Sumner].
Merryweather & Seattle (The Fiddle of
Helperby), 1994; No. 108, pg. 60. Sumner (Lincolnshire Collections, vol. 1: The Joshua Gibbons Manuscript),
1997; pg. 76 (originally set in the key of ‘C’ major).

LONDON POLKA. American, Polka. USA, Ohio. Edison 51995 (78 RPM),
1927, John Baltzell {Baltzell was from Mt. Vernon, Ohio, also the home town of
minstrel Dan Emmett (d. 1904). Emmett returned to the town in 1888, poor, but
later taught Baltzell to play the fiddle}. Is this the London Bridge Polka?

LONDON WAITS. AKA and see "Past Three O'Clock." English, Air (3/4 time). G
Major. Standard tuning. ABC. This Waits' air was turned into a Christmas carol
and appears in some collections of those songs; it was published by Playford in
his Dancing Master of 1665 (where it
appears simply as “The Waits”), and in Apollo's
Banquet of 1669. Waits were paid musicians of towns and corporations,
especially by the 15th and 16th centuries, and each group
had some special tune to which they gave their name e.g. "Chester Waits," "Colchester Waits." In the year
1575 the livery of the London Waits, states Chappell (1859), was described in a
contemporary chronicle as "blue gowns, red sleeves and caps, every one
having his silver collar about his neck." Chappell (Popular Music of the Olden Time), vol. 2, 1859; pgs. 10‑11.

LONDONDERRY CLOG. AKA and see "Londonderry Hornpipe,"
"Delaney's Clog," "Showman's Clog." Irish
(originally),Canadian; Clog. D Major.
Standard tuning. AABBCCDDEEFF. The tune was a favorite, records O’Neill (1913),
of County Wexford piper Johnny Cash (1832-1909), ‘Cash the Piper’; in fact so
much that it was locally known as “Cash’s Hornpipe.” Derry was renamed
Londonderry as a result of its being granted to the Corporation of London after
the confiscation of the O’Neill estates in 1609. It was ‘planted’ as a colony
by the twelve City Corporations (Matthews, 1972). Messer (Way Down East), 1948; No. 84. Messer (Anthology of Favorite Fiddle Tunes), 1980; No. 160, pg. 109.
O'Neill (1915 ed.), 1987; No. 322, pg. 159.

LONDONDERRY LOVE SONG (Abran--Grad Doire-Calgaic). AKA and see "Londonderry Air," "Danny Boy" “Derry Air.” Irish, Air (4/4 time, "with
feeling"). G Major. Standard tuning. AB. The familiar “Derry Air” with
cadences ending on the relative minor chord. Derry was renamed Londonderry as a
result of its being granted to the Corporation of London after the confiscation
of the O’Neill estates in 1609. It was ‘planted’ as a colony by the twelve City
Corporations (Matthews, 1972). O'Neill (Music of Ireland: 1850 Melodies),
1903/1979; No. 188, pg. 33.

LONDUBH, AN (The Blackbird).AKA and see
"The Blackbird." Irish, Air. An
Irish song of the Jacobite period in favor of the Stuarts. The title is an
allegorical name for Ireland. See note for “The Blackbird” for further info.

LONDUBH AGUS AN
CHEIRSEACH, AN (The Blackbird
and the Woodlark). AKA - "The Blackbird and
the Hen," "The
Blackbird and the Thrush," "The
Cock and Hen." Irish, Air or March (6/8 or ¾ time). G Mixolydian/Major
(Johnson): A Mixolydian (O’Neill). Standard tuning. AABB. O'Sullivan finds
related tunes in Petrie's Ancient Music
of Ireland (1855) and Bunting's 1840 collection under the titles
"Cearc agus Coileach a d'imigh le cheile" and "Sweet
Portaferry," respectively. Words to the air were recorded by Bunting from
two County Mayo sources in 1802. Source for notated version: According to the
Index of Bunting's 1840 edition, the tune was noted at Ballinrobe, County Mayo,
in 1792. Bunting (The Ancient Music of
Ireland), 1840. Johnson (The Kitchen
Musician No. 5: Mostly Irish Airs), 1985 (revised 2000); pg. 8. O'Neill (Music
of Ireland: 1850 Melodies), 1903/1979; No. 1837, pg. 345.
O'Sullivan/Bunting, 1983; No. 7, pgs. 9-10. Green
Linnet SIF 1053, Mick Moloney & Eugene O’Donnell – “Uncommon Bonds” (1984).

LONE BUSH [1], THE. Irish, Hornpipe. G Major. Standard tuning. AABB’.
Composed by County Cavan/Philadelphia fiddler and composer Ed Reavy
(1898-1988). The tune is named for the solitary surviving bush which grew
outside the family farmhouse in Cavan where Reavy was raised. “The Lone Bush”
was one of the tune selections of a young Liz Carroll (Chicago) when she won
the Junior All Ireland fiddle competition. Reavy (The Collected Compositions of Ed Reavy), No. 106, pg. 119.

LONE INDIAN. AKA and see "Lost Indian"
???Old‑Time, Breakdown. USA,
Alabama, Missouri. In the repertory of northwest Alabama fiddler D. Dix Hollis
(1861‑1927), and considered by him one of "the good old tunes of
long ago" (as recorded in the Opelika
Daily News of April 17th, 1926) {Cauthen, 1990}. Missouri
State Old Time Fiddlers' Association, Lymon Enloe (b. 1906, Cole Co., Mo.)
{appears as "Lonesome Indian"}.

LONESOME HILL. Old‑Time, Breakdown. USA, Oklahoma. D Major. Standard tuning.
AABB. Thede states that this version of "The Lonesome Hill" was the
one played by the fiddler who took first prize in fiddling at the World's
Columbian Exposition (Chicago, 1893), Will Connally. The melody has been linked
to the “Dubuque” family of tunes (by Gus
Meade). Source for notated version: Max Collins (Pottawatomie County, Oklahoma)
[Thede]. Thede (The Fiddle Book),
1967; pg. 112.

LONESOME MOONLIGHT
WALTZ. Bluegrass, Waltz. From
the ‘father of Bluegrass,’ Bill Monroe. D Minor/F Major. There are two versions
of the melody, both by Bill Monroe, but with differing second parts.“Kenny Baker Plays Bill
Monroe.”

LONESOME OAK. Old‑Time. The title appears in a list of traditional Ozark
Mountains fiddle tunes compiled by musicologist/folklorist Vance Randolph,
published in 1954.

LONESOME POLLY ANN.Old-Time, Breakdown. USA, Missouri. A Major. AEac# tuning (fiddle). AA’BB’CC’.
Gordon McCann remembers that Robertson originally called this tune “Pretty
Polly” (see also Pete McMahon’s version of “Pretty Polly” on the album “Now
That’s a Good Tune”), but changed the name so as to avoid remarks that he
copied McMahon’s tune [Beisswenger & McCann, 2008]. There are several other
tunes and folksong ballads with that have the name “Polly Ann” in them, most
unrelated to each other, and apparently not with Robertson’s tune. The melody
was recorded as “[[Lonesome Betty Ann]]” in the late 1940’s by fiddler Jesse
Ashlock, a Western Swing version. Source for notated version: Lonnie Robertson
(1908-1981, Springfield, Missouri) [Beisswenger & McCann]. Beisswenger
& McCann (Ozark Fiddle Tunes), 2008; pg. 120. Caney Mountan CLP 232, Lonnie Robertson – “Fiddle Tunes,
Ozark Style.” Rounder 0375, Lonnie Robertson – “Lonnie’s Breakdown” (1996.
Originally recorded in 1977).

LONESOME ROAD BLUES. AKA and see "Going
Down the Road Feelin' Bad." Old‑Time, Song Tune. USA, North
Carolina. The song is widely known and recorded as "Goin' Down the Road
Feelin' Bad," locally called "Lonesome Road Blues" in the Round
Peak, North Carolina, region. Tommy Jarrell remembers the tune "coming
'round" to the area about 1918 or so. County 778,
Tommy Jarrell ‑ "Pickin' on Tommy's Porch" (1984).

LONG AND SLENDER SALLY, THE. Irish, Reel. Ciaran Carson mentions the tune
in his book Last Night’s Fun (1996),
played in a set with “Johnny
Going to Ceili” and “The
Gosson that Beat His Father,” obtained from flute player Cathal McConnell
“of Ballanaleck on the shores of Lough Erne.” Carson thought McConnell had the
set from the late John Magure, father of fiddle ‘maestro’ Sean McGuire [sic].

LONG HILLS OF MOURNE (Cnoic Fhada Mhughdhorna). AKA and see “The Bush Reel,” “Captain Rock [2],” "The Old Bush (Reel)." Irish,
Reel. A Dorian. Standard tuning. AB. Breathnach (1963) notes that George Petrie
has an untitled version (Complete
Collection, 1905, No. 907) and says it is a County Clare reel. Elsewhere,
Petrie says that his “Peggy is your head sick” when danced to goes by the name
of “Long Hills of Mourne,” but the melodies are not similar. Source for notated
version: piper Seán Potts (Ireland) [Breathnach]. Breathnach (CRÉ I), 1963; No. 105, pg. 44.

LONG LIFE TO
STEPMOTHERS. Scottish, Slow Quickstep. D Major.
Standard tuning. AAB. Composed by Nathaniel Gow
(1766-1831) the title suggested by his family. Father Niel Gow (1727-1807)
married twice. His first wife was Margaret Wiseman, with whom he had five sons
and three daughters. She died in . Niel remarried to Margaret Urquhart of Perth
in 1768, and, although they had no children of their own, they remained
happlily married until her death in 1805. As stepmother, she had affectionate
relationships with all Niel’s children by his first wife. Niel was deeply
distressed by Margaret Urquhart’s death and stopped playing for a time, until
urged back to the fiddle by his family. When he picked it up again he composed
the lovely “Niel Gow’s
Lament for the Death of his Second Wife.” The tune was probably partly an
answer to “Short Life to
All Stepmothers,” a strathspey by Malcolm MacDonald, appearing in his Fourth
Collection (1797). Carlin (Gow
Collection), 1986; No. 573. Gow (Fourth Collection of Strathspey Dances),
2nd ed., originally 1800; pg. 4.

LONG NOTE, THE. Irish, Single Jig or Slide (12/8 time). D
Mixolydian. Standard tuning. AA'BC. A slide version of the first two parts
of“Jenny’s Welcome to Charlie.” It
was the theme song of an influential Monday night RTE program, also called The
Long Note, in the 1970’s and was thus popularized in the repertoire. Sullivan (Session Tunes), vol. 2; No. 36, pg. 15.

X: 1

T: Long Note [The]

M: 12/8

L: 1/8

Q: 350

R: Single Jig

K: D

DDD D2 A A2 G E2 F|G2 E EEE =c2 E d3|

DDD D2 A A2 G E2G|AAA G2 A E2 A D3 :|

ddd d2 B =c2 Ad2 B|=c2 A d2 B c2 A G3|

ddd d2 B =c2 A d2 d|e2 a a2 g eae d3|

ddd d2 B =c2 Ad2 B|=c2 A d2 B c2 A G2F|

D2 E F2 G A2 d d2 c|AAA G2 A E2 A D3 ||

aaa a2 b a2 f d2 f|g2 f g2 a g2 e c3|

aaa a2 b a2 f d2 d|e2 a a2 g eae d3|

aaa a2 b a2 f d2 f|g2 e fed e2 d c2 B|

A2 B c2 d e2 d d2 c|AAA G2 A E2 A D3 ||

LONG ODDS. AKA – “Miss Laton’s Hornpipe.” English, Country Dance Tune (2/4 time). A
Major. Standard tuning. AABB'. The melody was first published (with dance
instructions) in Preston and Son’s Twenty-Four Country Dances for the Year
1791 (London),“As they are performed at Court, Bath, and all
Public Assemblys.”
There was a song called “Long Odds,” from Charles Dibdin's (1745-1814) The
Long Odds : A Serenata, in Two Acts (1783), commencing: “And did you hear what sad disaster.”
The country dance title may have derived from it. Barnes (English
Country Dance Tunes), 1986. Antilles (Island)
AN-7003, Kirkpatrick & Hutchings - "The Compleat Dancing Master"
(1973).

LONG
ROOM OF SCARBOROUGH, THE. AKA – “The Long Room,” “New long room at Scarborough.”
AKA and see “Casks of Brandy.”
English, Irish; Slip Jig. England;
Northumberland, Yorkshire. G Major. Standard tuning.
AABBCC. This English slip jig from a 19th century MS turns up in fiddler Martin
Mulvihill’s traditional Irish repertoire from the Bronx, NY, a century later,
probably through O’Neill’s. The beginning of the ‘C’ part shares a couple of
bars with “Foxhunter’s Jig [1],”
and the ‘B’ part is reminiscent of the same tune, although whether one or the
other is ancestral is conjectural. Scarborough, on the
east Yorkshire coast, has been a fashionable leisure
resort for hundreds of years, and the ‘long room’ refers to a large assembly
hall constructed for dancing. The town’s fame began in 1626 when Mrs. Tomyzin
Farrer ‘discovered’ the medicinal properties of the town’s waters. Work quickly
spread and Scarborough became established as the first
seaside spa resort, attracting many by its scenic views and the relief of aches
and pains by ‘taking the waters’. Scarborough catered to
the elite’s pleasures, with fashionable amenities such as nightly dancing and
gaming tables to afternoon theater and horseracing on the beach sands. The
Victorians further developed it by introducing some of the finest formal
gardens in Britain,
the renowned Scarborough Spa and the Esplanade. It remains a resort town today.

LONG WAY FROM HOME, A. AKA and see “Lads of Doocastle,”
“Paddy Arthur’s Pint,” “The Trip to Kinvara.” Irish, Reel.
Alternate title “Lads of Doocastle” is from flute player Roger Sherlock, while
“Paddy Arthur’s Pint” and “Trip to Kinvara” are from the Green Linnet Ceili
Band and Buttons and Bows, respectively. However, the tune was originally
composed in the early 1950’s by accordion player Martin Mulhaire as “A Long Way
from Home.”

LONGFORD COLLECTOR, THE (Bailitheoir Longphoirt). AKA and see “The Bonny Boy,” "The Longford Beggarwoman." Irish, Reel. G
Major. Standard tuning. AB (Breathnach, Mulvihill): AAB (Sullivan): AA’BB’ (Harker/Rafferty,
Mallinson, Moylan, Tubridy). The tune was sometimes known as "The Longford
Beggarwoman" in the County Clare border area near Galway (Peter Woods). It
is the second tune of a famous Michael Coleman medley which includes and “The Sailor’s Bonnet.” Barry O’Neill,
in his notes for the LP “Wheels of the World,” states that the title was known
to County Sligo/New York City fiddler Michael Coleman as “The Longford
Beggarwoman.” The story goes that Coleman was playing the tune in a taproom and
after he finished someone asked him the name, which he gave as “Longford
Beggarwoman”. Immediately, a plate sailed across the room and crashed on the
wall near his head, followed by an irate woman shouting something to the effect
that she was from Longford and they
weren’t beggars there. Another version has her saying ‘there were more
beggarwomen in Sligo than ever was in Longford.’ Very
soon afterward Coleman entered the studio to record his famous Tarboton Set (“Tarbolton Reel,” “Longford Collector,” “Sailor’s Bonnet”) at which time he
made the name change. See also the related “Long
Strand [1].” Sources for notated versions: fiddler Tommy Potts (Ireland)
[Breathnach]; accordion player Johnny O’Leary (Sliabh Luachra region of the
Cork-Kerry border) [Moylan]; New Jersey flute player Mike Rafferty, born in
Ballinakill, Co. Galway, in 1926 [Harker]. Breathnach (CRÉ I), 1963; No. 184, pg. 72. Cotter (Traditional Irish Tin Whistle Tutor), 1989; 26. Harker (300 Tunes from Mike Rafferty), 2005; No.
126, pg. 38. Lyth (Bowing Styles in Irish
Fiddle Playing, vol. 1), 1981; 24. Mallinson (Essential), 1995; No. 14, pg. 6. Moylan (Johnny O’Leary), 1994; No. 278, pg. 159. Mulvihill (1st Collection), 1986; No.
22, pg. 6. Sullivan (Session Tunes),
vol. 2; No. 4, pg. 3. Taylor (Through the
Half‑door), 1992; No. 44, pg. 31. Tubridy (Irish Traditional Music, vol. 1), 1999; pg. 23. Gael-Linn CEF 045, “Paddy Keenan” (1975). Great Meadow Music
GMM 2018, Frank Ferrel & Joe Derrane – “Fiddledance” (2004). Leader LEA
2004, Martin Byrnes. Philo 2001, "Jean Carignan" (learned from a
Michael Coleman recording). Shaskeen ‑ "Shaskeen Live.” Talcon
Records KG240, Paddy Cronin – “The House in the Glen” (197?).

LONGUEVAL. Scottish, Waltz. Composed by Pipe Major John Weatherson. The melody is
named after a village in France, the scene of a struggle during the Battle of
the Somme, July, 1916. BM-91, Buddy MacMaster –
“Glencoe Hall” (from bagpipe music compiled by Captain John MacLellan). Topic
12TS239. Topic TSCD 669, Will Atkinson (et al) – “Ranting and Reeling: Dance
Music of the north of England” (1998).

LONNIE'S HORNPIPE. Old‑Time, Breakdwon. USA; Nebraska, Missouri. B‑Flat Major
('A' part) & F Major ('B' part). Standard tuning. AABB. A tune learned in
northern Missouri by source Lonnie Robertson, who had no title for it.
Robertson enjoyed the tune, and it became associated with his name through his
frequent playing of it. Drew Beisswenger (2008) points out that the key change
between strains, while not unknown in reels and hornpipes in the Ozarks, is
rare, and he speculates derivation from the schottische form played in German
communities in central and northern Missouri. Beissenger also points to large
interval jumps in the tune as uncharacteristic of much of the region’s
breakdown fiddling. Source for notated version: Lonnie Robertson (Missouri) via
Bob Walters (Burt County, Nebraska) [Christeson]; Lonnie Robertson (1908-1981,
Springfield, Missouri) [Beisswenger & McCann]. Beisswenger & McCann (Ozark
Fiddle Music), 2008; pg. 121. R.P. Christeson (Old Time Fiddlers Repertory, vol. 1), 1973; pg. 36. Rounder CD 0375, Lonnie Robertson – “Lonnie’s Breakdown”
(1996. Originally recorded 1979).

LOOK BEHIND YOU. AKA and see "Lassie,
Look Behind You/Ye," "Lady Anne Gordon's Reel,"
"The House of Letterfourie."
Scottish, Reel. D Major. Standard tuning. AABB. Composed by William Marshall (1748-1833) who titled it "The
House of Letterfourie" and published it in his First Collection of 1781. The title above is the one Gow used when
he reprinted the tune in his Repository,
Part Second, 1802, without credit to Marshall. Carlin (The Gow Collection), 1986; No. 529. Gow (Complete Repository), Part 2, 1802; pg.
38. Stewart-Robertson
(The Athole Collection), 1884; pg. 87
{appears as "Lassie Look Behind Ye"}.